視空間支援のためのデバイスアート:人間の反響定位能力の拡張

この博士論文は全文公表に適さないやむを得ない事由があり要約のみを公表していましたが、解消したため、令和３(2021)年1月18日に全文を公表しました。筑波大学 (University of Tsukuba)201

Practice Theories and the \u201cCircuit of Culture\u201d: Integrating Approaches for Studying Material Culture

The paper compares two heuristic tools to understand how practice theory could be used to study the phenomena of material culture: the one summarized by Shove et Al. (2012) in The Dynamics of Social Practice: Everyday Life and How It Changes and the \u201ccircuit of culture\u201d proposed by Paul Du Gay et Al. in Doing Cultural Studies. The Case of the Sony Walkman (1997). The aim of the article is to test the possibility to integrate the use of these two tools. In order to fulfil this purpose, the article is comprised of two parts. The first part illustrates how the two heuristic tools are compatible and what advantages each have over the other. In the second part, both heuristic tools will be applied to explore two case studies, one regarding a technological artefact and another one regarding a type of agricultural practice

Expressing Tacit Material Sensations from a Robo-Sculpting Process by Communicating Shared Haptic Experiences

A sculptor's sense of touch is paramount because we experience sculpting in the iterative process of making new objects. Making sculpture is a process of expressing the inner 'tacit-self' by way of tangible material interactions that become shared artefacts. The existence of tacit- tactile awareness indicates a natural world of personal haptic experience that this thesis will attempt to unpack. Tele-haptic solutions are presented in the form of two robotic sculptures, Touchbot #1 and Touchbot #2. Touchbots (collectively) are the study objects that this practice- based art-research thesis produced, to ask the question: Is it possible to create a machine that could capture and retransmit tacit-tactile experiences within the artistic act of sculpting, through material engagement, from a sculptor's hand to a non-sculptor's hand? Research, conducted and presented, aims to demonstrate that robotic haptic feedback is a vehicle for communicating 'touch' messages through mechanical transmission during sculptural actions (demonstrated through participant interviews and video observation analysis). Additionally, an epistemological context for exploring 'hands-on' knowledge and practice deficits in machine-assisted object modelling is presented including: Michael Polanyi's Tacit Dimension (Polanyi, 2009), David Gooding's Thing Knowledge (Gooding, 2004, p. 1) and Lambros Malafouris' "Material Agency" and material culture (Malafouris, 2008, pp. 19-36). Intersecting bodies of knowledge weave a common thread to support developing a method of communicating tacit sculptural information using haptic touch experience. Unfortunately, there exists more tele-haptics and telerobotics technology for industrial applications than artworks using the same technology. For instance, 'rapid prototyping' technology—such as 3D printers—is removing human tactile-material interaction from object making altogether. In response to the technological obstacle of expanding contemporary interactive sculpture, haptics is applied to include real-time, iterative, robotically assisted object modelling. A review of contemporary haptic technology demonstrates a gap in our understanding iii of embodied knowledge transference. A shortlist of contemporary artists and their works that address the communication of tacit-haptic experiences is also offered, highlighting the importance of exploring embodied knowledge transfer

Expressing Tacit Material Sensations from a Robo-Sculpting Process by Communicating Shared Haptic Experiences

A sculptor's sense of touch is paramount because we experience sculpting in the iterative process of making new objects. Making sculpture is a process of expressing the inner 'tacit-self' by way of tangible material interactions that become shared artefacts. The existence of tacit- tactile awareness indicates a natural world of personal haptic experience that this thesis will attempt to unpack. Tele-haptic solutions are presented in the form of two robotic sculptures, Touchbot #1 and Touchbot #2. Touchbots (collectively) are the study objects that this practice- based art-research thesis produced, to ask the question: Is it possible to create a machine that could capture and retransmit tacit-tactile experiences within the artistic act of sculpting, through material engagement, from a sculptor's hand to a non-sculptor's hand? Research, conducted and presented, aims to demonstrate that robotic haptic feedback is a vehicle for communicating 'touch' messages through mechanical transmission during sculptural actions (demonstrated through participant interviews and video observation analysis). Additionally, an epistemological context for exploring 'hands-on' knowledge and practice deficits in machine-assisted object modelling is presented including: Michael Polanyi's Tacit Dimension (Polanyi, 2009), David Gooding's Thing Knowledge (Gooding, 2004, p. 1) and Lambros Malafouris' "Material Agency" and material culture (Malafouris, 2008, pp. 19-36). Intersecting bodies of knowledge weave a common thread to support developing a method of communicating tacit sculptural information using haptic touch experience. Unfortunately, there exists more tele-haptics and telerobotics technology for industrial applications than artworks using the same technology. For instance, 'rapid prototyping' technology—such as 3D printers—is removing human tactile-material interaction from object making altogether. In response to the technological obstacle of expanding contemporary interactive sculpture, haptics is applied to include real-time, iterative, robotically assisted object modelling. A review of contemporary haptic technology demonstrates a gap in our understanding iii of embodied knowledge transference. A shortlist of contemporary artists and their works that address the communication of tacit-haptic experiences is also offered, highlighting the importance of exploring embodied knowledge transfer

Cultivating myth and composing landscape at the Villa d’este, Tivoli

This thesis presents a new reconstruction and interpretation of the ideological programmes at the Villa d’Este in Tivoli, devised by Pirro Ligorio for Cardinal Ippolito II d’Este from 1560 to 1572. It traces the sixteenth-century visitor’s progress through the garden, where a sculptural pantheon of classical deities and demigods located within mythically allusive settings transformed the visitor’s journey into a lushly storyboarded experience, reconfiguring the garden as a site of mythic encounter. Investigating the intersection between the visitor’s symbolic and sensory modes of experience at the Villa d’Este, this thesis pioneers a new approach to Italian Renaissance garden design, synthesising traditional interpretative approaches to iconography with innovative phenomenological methodologies from sensory anthropology and recent ecocritical perspectives on landscape in the Cinquecento. This critical framework reveals how the Villa d’Este’s iconographic schema was augmented by the multisensory effects of water features and plantings, which reoriented the visitor within physically immersive mythic locales and microcosmic visions of the surrounding Tiburtine landscape. It also results in a new ecocritical interpretation of the Villa d’Este, engaging with representations of landscape features and natural phenomena within the garden as creative expressions of and responses to environmental concerns

Ceramics and its dimensions : shaping the future

European ceramics traditions and cultures are facing challenges, many of them linked to the recent development of digital technology that is changing the rules of our everyday life as well as all aspects of trade. The publication shares, shows and discusses the ideas and processes that have evolved during the project Ceramics and its Dimensions and the related sub-project Shaping the Future. The sub-project began with a workshop on the premises of the KAHLA Porcelain factory in Germany gathering together international team of students, teachers and other stakeholders with the aim of exploring the material of ceramics and the associated new technologies. These experiments resulted in diverse new ceramic pieces yet even more important were the shared experiences and ideas that gave birth to new creative processes. The articles of the publication discuss the topics of design, education, 3D printing and food. The publication includes also a catalogue of the works that are on display in a touring exhibition Ceramics and its Dimensions: Shaping the Future. The aim of the publication is to challenge and reposition the role of ceramics and its future

Ways of making: producing artworks in the studio in response to experiential walking

This thesis includes a body of paintings, drawings and assembled objects that have been made in response to the Crossing England walks (2014 - 2018). This body of work is entitled The English Diagrams (2018). The research draws upon the varied perspectives of Fine Art, Performance Studies and Cultural Geographies, to examine the relationship between the activities of walking as art, and making in the studio. Drawing from experiential phenomenology, I set out a model for rigorous, reflexive, creative practice and map the looping affiliations between the embodied world of the walked landscape, the subjective terrain of the practitioner, and the fabrication of paintings, drawings and assemblage within the studio. This interdisciplinary study takes a neo-vitalist approach, tracking a series of walks on a single route across England. Artist and terrain are explored as integrated, the boundaries between them fluid or porous, Autobiographical story, personal mythology, and sediments of collective memory interred within the earth are drawn out by the sensory, somatic rhythms of walking, and through selection of specific materials found along the way. Through studying bodily, psychical and material fluxes and flows within the studio, the thesis considers optimal conditions for flow in practice, and scrutinizes interrelations between the space of the studio and the body/mind of the practitioner, during the production of drawings, paintings and assemblage. It explores how the fields, gaps, lines and folds of the landscape can be translated into a bricolage of visual and painterly languages that is as heterogeneous as the terrain it refers to. The research shows how a sustained and looping threefold process of walking, reflective writing and making can lead not just to new ways of fabricating, but of surveying and plotting human experience. This renewed, unified sensibility, is subsequently conveyed back outside to the landscape during new walks, offering altered perceptions and new readings of the landscape. This is a study with potential to be of interest for creative practitioners from a variety of disciplines, and to theorists and scholars of artistic process

Analyses from an A/r/tographic perspective of maintaining participatory flow with the intention of enhancing empowerment during a school-community art & craft project

Research Question: How can an artisan-facilitator maintain participatory flow with the intention of enhancing empowerment during a school-community art & craft project? This interdisciplinary research is focused on the facilitation of participatory flow during a school-community art & craft project, aiming to understand how an artisan- facilitator may maintain participatory flow (Lucas, 2018; Csikszentmihalyi, 1990), and conclusively contribute to empowerment. Reliance on trust as a synergist is explored further. Being practice-led (Smith & Dean, 2009) and self-reflective (McIntosh, 2010), the research draws on my own 18 years of practice as an artisan-facilitator. This is considered within the context of a literature review. An a/r/tographic framework (Springgay et al., 2008) is applied to comprehend this wider art & craft practice as a process of living inquiry. Interview data, in respect of the impressions of participatory flow, and video data of engagement in respect of the artisan-facilitator’s role in the maintenance of participatory flow is processed, partially by multimodal analysis (Kress, 2010). Contributing to the interdisciplinary fields of participatory art & craft and education, the documentation is comprised of the thesis, the interactive website (www.wiseninggate.uk), video footage (not publicly available) and a portfolio of artefacts. The research has concluded that the largely understated role of an artisan- facilitator requires profession-specific knowledge and skills for maintaining participatory flow through creating trust in the group. The success of a participatory project depends more on the facilitator than it had previously been thought and this may require further acknowledgement of this role, which in turn, may necessitate expansion of the relevant training system. The research argues that engaging in haptic learning as a shared experience, is vital in a digital age and recommends enabling more opportunities for participatory art & craft in the school curriculum. It also suggests that initiatives, like the Schoodio (www.schoodio.co.uk), the successor to this research, have an important role in the society of today

Visual creases in urban topology: high streets as visual markers of our social

As continuously connected surfaces making up “80% of the unbuilt area” in our urban (UN-Habitat & Clos, 2013), streets are self-regulating urban devices for funnelling vehicles. High streets however are artefacts along this predominantly hostile network, that articulate temporal moments of sustainable meaning. In this study our relationship with urban meaning is considered through the analogy between high street and a concept of visual creasing in the landscape. It is a metaphorical representation highlighting how dynamic access points into the social exist at our intersection with high streets. High streets act as change agents of behaviour. They facilitate urban mobility of our senses, beyond the inhospitable agglomeration of autopoietic function. The paper engages philosophically with displaced space, mixed use, visual meaning, and conditions of alienation by referencing previously documented case studies; while simultaneously constructing a case study of its own. The conclusion reached is that there is a sense of visual sustainability evident in the persistence of meaning defined by the social armature that is the high street. The concept of visual creases as visual markers of social territories is an important consideration around future research into functioning aspects of high streets, including but not limited to viability, durability, and maintenance

Ultrasonic mid-air haptic technology in context of science communication

This dissertation charts opportunities and challenges of engaging people with learning about science through the use of mid-air haptic technology. To that end, research has been carried out at the intersection of three multidisciplinary fields: Science Communication, Haptics, and Human-Computer Interaction. For science communication to be effective, different tools are required for different audiences. For example, when a child pours cold milk into hot tea and sips a warm beverage, we can raise awareness of the haptic experience; triggering interest and facilitating learning about thermal equilibrium. Not every scientific concept may be explained through changing temperature, and not everybody likes tea, but the principle of haptic experience facilitated public engagement with science remains a valid basis to examine. Science communicators seek new technological solutions and innovative modalities of communication, some of which include haptic technology and touch interaction. Ultrasonic mid-air haptic technology is a novel tool, which enables the creation of programable, invisible, cutaneous tactile sensations on an airborne interface between humans and the digital world. Mid-air haptic sensations may bring many benefits when used in science communication, but these have not yet been systematically studied